DIY Fashion and Editorial Photography

Lesson 24 of 31

Shoot: Victorian Beauty

DIY Fashion and Editorial Photography

Lesson 24 of 31

Shoot: Victorian Beauty

Lesson Info

Shoot: Victorian Beauty

All right so let me just take a couple of test shots and see what's going on here with this um you know move back a little bit sorry it annoyed it's not coming through okay well yeah okay um I think I need teo I just need to bring this light down a bit so I don't we do this here okay, maybe just one more this is richard okay, let me try a couple shots like this I'm going to see if I need you to move a little bit I think you're in a good spot maybe move back just one little inch see what this looks like so these air nothing I'm just trying to see what the light looks like here so um I wonder if she got a chair not hold on here. Yeah, this is good. Okay, so we're going to start so I'm just going I like the light the way the way it is it's probably the right exposure and when I'm editing I might want to darken this even more because I want to add a little more drama that way but I won't be adding textures. I would just probably bring the light around her down but I need this fill light I ...

don't want it getting dark as we go and this is why it's a little more brighter than I would like it but we'll leave it that way so india can I get you to sort of two separate your feet a tiny bit and just very like stiff and all I got me just straight on and yeah, you could tilt your head and just have that yet. Good. Yeah, I like that what I need um, yeah, I'm going to sit when I'm doing full body like this. Usually I liketo no, I'm going to sit way I care. Okay, this you're safe, my safe here, o k, hold on here, see how this looks good, cam, just shooting away all to hi excuse me, but this is another thing I want to point out when you'll see the next frame. Well, even on this one, see how much headspace is there. A lot of times people think I'm like purposely well, I do, but like when I started, I always did this. I always left a huge head space and I wasn't framing it right, but it became like, I don't know popular for my look that I was doing it was never deliberate at first. And so I just have a habit of putting way too much space up above and not for these shots, but outside sometimes in my shop to see a lot of head space because I don't know why it wasn't deliberate, I would just shoot like that and I don't know it just stuck with me I don't know why I do it but I do okay, so hold on this guy isn't focusing okay, there we go. There we go okay, so I'm gonna let you just kind of do your thing and just go in between frame she knows how to pull is I don't need to tell her too much which is really good for us and if I need her to do something different than what she's doing all of her knowing that just kind of like some sideways and like tilting your head and just keep keep it in that no character yup good. Very nice. Ok, that one was a little bit off and you can even like uh move even go sideways to me a little bit good. Can I get you? Yeah exactly could put your hands in the front good keep your legs like that indian can you pull the right leg the right foot back may I do that? Do that first that's good and then we'll flip it down around the other way too. So if you guys see the body language and stuff of what she's doing here it's very much like a doll I don't want a lot of crazy movement in her arms and her legs flailing all over the place I just want a lot of stiff up two down you know, head to toe type of a thing here so we're just gonna wait all right that's one going good can you pull that arm back because I've lost it in the jacket yeah good do that again actually can I get you to turn the other way and do that because this light is my light that I need on her and that's there for her face so we're going to make sure her body stays this way yeah sure not a tiny bit good that's good nice and then stay just like that you have pull your body back towards me your upper body nice that's nice but I'm going to get some close up portrait's over to in this nice see look how good she is you don't have to talk to her too much she's doing good I'm gonna get a close up of you doing that when you're playing with your hair a lot of times things like this you have to make sure that when this thing you've gotto watch for details like this like I was starting to lose the necklace into the jacket so just kind of making sure you re adjust those things as you're shooting oh yeah that's okay thinking like that that I guess but yeah we'll just uh no go ahead just leave it it's fine it's not hard to clean out good I like that one we'll get closer so I'm just doing some portrait shot some close ups here a swell, huh? Let's do a little bit more of the sideways thing again. Yeah, yeah, with your hand up so I can bring your hands ago look up there looks really nice and if you guys see in the next frame coming, the tags will show but that's okay, I'll show you that's easy to edit and shape her body vacuum, get rid of those good. So, nam just doing like, three quarter length, so just a little more than portrait, but not full body. Good. Yeah, do that again. Just very like regal and place and then straight on at me again. Yeah, and look really, really angry maybe like you want to, like, go suck someone's blood or something just hopes just very straight on and yet good. Yeah, I like that one. Can you? How far out can your legs go with that skirt? How do your hands go in those pockets? Can they go in there? And is there? Is there side? Oh, it's not okay, that's fine, good. How looks great. You know what, india can I get one leg more straight and then one leg pulled out so you're only one leg alex yeah, there you go. And with your upper with your arms like your upper body can we kind of just have your arms sort of yeah uh switch so that tag is keeps keeps up you might end up repeating hope but see how these look that's good perfect yeah you want to run the foot sideways so I could get more detail of the shoe good soul because like I said, this is fashion I'm trying to get details like when her foot is straight on to me we're not seeing the whole thing in the shot when I got her to turn her foot sideways you're seeing a little more of the shoe details so yeah, you can do whatever but just like have some shots of it sideways so you could you don't have to keep a flat you could turn it yeah that's perfect good looks great and because I'm shooting full body that's the reason I had sat down because I need to shoot a mid level to her body so that the angle is right and we're not making her look too short help I didn't recompose out one it happens that is too high upsy it's my habit but have it okay yeah let's do a couple more let's take that jacket off we'll get rid of the jacket now and just change the look a little bit thanks we'll even take the necklace off real quick, you know? Let me take that off our just kind of cleaning your look up this is another way you can change looks without having to much items like if you don't have a lot layer them and just slightly changed things around because this has created a whole new look now and it doesn't always have to be full body khun b you know about this top on lee and soul if you guys look at the details and the sleeves, I will probably have her keeping her arms up a little bit more higher so I can get little get more detail in here with that kind of stuff so e yeah, so now she's gone really coffee? I'm just going to stay a little bit close up with her now nice place, good and to anybody actually more this way good don't ask me good and then you would want to do one just sort of straight on like, I don't know we can I don't maybe one arm down yeah, too much try that that's pretty good you want to do a couple like I don't know it just sort of touching your lip or covering your idea I just kind of play around with your hands a little bit so models when you're working with models they really do need to know how to use their hands sometimes they don't sometimes it looks really bad so um she always see knows and that's why what's the matter did you smear it it's okay you know wipe it off it's okay yeah it's okay it's my fault I told you to do it um it's nothing conclude it up just uh maybe just I don't know like near your eyes or something out other handle because it's we're blocking this guy yeah the same thing again she had the hand on the wrong just call to remind them to switch it up good that looks pretty do that again when you have a chin and a little bit towards me nice do you want to bring your eyes like straight down to where your nose is going good so this girl she is take in everything I say and just doing it like that so sometimes like how she had said if the girls are new they need a little more direction but she's she's really good at taking the direction going with it so yeah and the more you build you work up the more models you work with the more experienced models you can get your hands on later so good nice um we'll do it some maybe like from the back after this one we'll do one more uh let's let's turn around and kind of see how it looks with the tag maybe not maybe thought, yeah, let's, try that right there and realize that tag was in there. Okay, we'll keep it just like that, yeah, very, yeah, chin down, a little more like the way you had it. Sort of, yeah, stay just like that. Good looks, pretty one more that's. Nice, good. Can you looked straight towards thes guys like your head and then, like, bring your body twisted back to me and turn your head more sideways. I like to get those profile shots a little more right there, good little more towards me, on an even shoulder up sort of way. You're him, and then should not we try that one good one more, okay, I think we're good. I'm good.

Class Description

When you think of conceptual, high-fashion photo shoots, you imagine budgets in the tens of thousands of dollars. Turns out, couture shoot concepts don’t have to cost more than $100. Join Amanda Diaz for a hands-on class that will show you how to concept, style, and photograph the images of your dreams.

This course will teach you everything you need to know to create high-fashion looks (including models, props, and locations) on a seriously shoestring budget. You’ll develop the strategies you need to carry out a complete low-cost, high-impact shoot from start to finish. You’ll also learn about creating a consistent, cohesive portfolio and develop ways to express your unique point of view in every image you capture. You’ll examine how a fear of criticism can unduly discourage you in the same way financial constraints do, and how to prevent those fears from holding you back.

From vision boarding to connecting with modeling agencies to shooting for publications and more, you’ll explore the tips and techniques every professional photographer needs to know.

Dan ilicak

Amanda diaz has given me inspiration and purpose. I wake up everyday inspired to create a beautiful image, atleast enough to hold your &quot;aww&quot; for a few seconds. I can relate to Amanda on so many levels as I also found myself in photography and never planned for it. Just like Amanda, I also started from scratch with nobody to help or assist me.
If I had found this tutorial a few years ago, it would have speeded up the process of learning. Even today I call myself a professional photographer, this course still had a lot to offer me. I can blab on and on about how much I love and support Amanda diaz, however I will make it short and sweet by saying three simple words, &quot;Thank you, thank you, thank you!&quot;
www.snipershotsphotography.com
https://www.facebook.com/danssnipershots

a Creativelive Student

This was the best creative and most prolific 3 days of a tutorial. Amanda covered the entire spectrum of what every photographer who's trying to become better and bigger go through. I loved the part where she spoke about how to shoot in any lighting situation outdoors and a few indoors. She not only spoke about them, she went into full detail to help the novice or advanced level photog. Despite the tethering issues CL had with Lightroom, Amanda poetically commanded every day of her 3 days.
Another point is that she did everything &quot;her way&quot;, and not the traditional textbook style of teaching and editing. One prolific point is that NONE of the previous CL instructors touched the issue of drama, unwanted criticisms, or unprofessional things that happen in the industry, however with a brilliant stroke of quiet humility, and courage, Amanda did. I believe it helped everyone realize that no matter what level of photography you're on that it happens and you have to oftentimes &quot;bite your tongue&quot;, or &quot;turn the other cheek&quot;. It also pointed out that as photographers we should be doing everything to help one another to build our industry, vice tear it down by hurting one another because of the mindset of &quot;competition&quot;.
Amanda Diaz, and CL I salute and thank you dearly!
Semper Fi!
Mike
www.mikeconphoto.com
www.facebook.com/mikeconphotography